Turkish literature

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Turkish Literature ( Turkish: Türk edebiyatı or Türk yazını ) describes the literature in the Turkish language from its earliest known evidence of its development and first heyday during the Ottoman Empire to the literature of the modern Turkish Republic . Classical Turkish literature and poetry have produced works of world literary rank. The modern Turkish writer Orhan Pamuk was awarded the Nobel Prize for Literature in 2006.

history

Pre-Islamic and early Islamic times

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The first two pages from the Irk Bitig manuscript in Old Turkish in the British Library in London

Literary works from the pre-Islamic period of the Turkic peoples are rather sparse, as little was written down during this phase and information is known from oral traditions . It only becomes tangible through the Orkhon inscriptions of the Gök Turks in Central Asia in the Old Turkish language , which were carved on stone tablets. Earliest finds of this inscriptions date n. Chr from the 5th century. Other famous graves and memorial inscriptions include the Kül-Tegin inscription on the old Turkish statesman Kül Tegin , which near the Orkhon -Flusses in Mongolia was discovered. Just as important inscriptions were found in China in the autonomous region of Xinjiang , in Siberia , in Kyrgyzstan on Lake Issyk , which are also known as Issyk scripts . One of the first completely preserved manuscripts written in Old Turkish script from the 9th century was discovered in Turpan in China during archaeological work. The book is about fortune telling and about shamanism and Buddhism . The book with the title Irk Bitig (call number Or.8212 / 161) is in the British Library in London. Other valuable finds that were discovered in Turpan and Qoco are the manuscripts Sekiz Yükmek and Altun Yaruk (Gold Shine Sutra ). The latter is preserved in fragments of manuscripts and block prints from the 10th century. An almost complete block print dates from 1687.

The earliest evidence from the Islamic period: Kutadgu Bilig and Mahmud al-Kāschgharī

Among the earliest surviving works from the Islamic period in Turkic prince mirror, which is part Kutadgu Bilig to 1069/70 of Yusuf Chass Hādschib from Balasagun the Karachanidenherrscher Harun Bughra Khan dedicated. The text, influenced by his teacher Avicenna , deals with the views of the author and his society, and presents individual aspects of life in the Qarakhanid Empire. While the introduction refers to Islam, there are few references to the new religion in the text itself. The text already contains numerous loanwords from Arabic and Persian. Although originated in Central Asia, the Kutadgu Bilig is seen as an early document from a society from which the Seljuks broke away only a short time later in order to move west, and is therefore placed at the beginning of the Turkish literary tradition.

There are also some works by Mahmud al-Kāshgharī . His main work is the "Collection of Dialects of the Turks" ( dīwān lughāt at-turk ), created in Baghdad in the years 1072-1094. It is a particularly important work for the study of Turkish languages, culture, and the history of the Middle Ages. In addition to the function of a Turkish-Arabic dictionary, the work offers numerous historical, folkloric and geographical details. The work also lists 21 Oghus-Turkish tribes and is one of the historical sources about the Oğuz. Most of the Oğuz tribes can be found in Ottoman Anatolia centuries later.

Seljuk period

The most famous work from Rum-Seljuk times is the Ġarībnāme ("Book of the Strange") of the Sufi Sheikh ʿĀšiq Pasha (ʿAlī bin Muḫliṣ, 1272-1332). It consists of over 10,000 double verses ( Masnawī ) , which are divided into ten chapters (bāb) , which in turn are divided into ten sub-chapters. Each chapter deals with a topic related to its respective number. The fourth chapter deals with the four elements and the fifth chapter deals with the five senses. The topics are moral and philosophical. The tomb ( Türbe ) of the poet in Kırşehir who succeeded Jalāl ad-Dīn ar-Rūmī (1207-1273) became a place of pilgrimage.

Verses from pre-Ottoman times have been passed down orally. The epic of Gesser Chan is the largest Central Asian Epenzyklus in Tibetan , Mongolian known and Turkish. The great Turkish folk epic is " Dede Korkut ", which tells of the struggle of the Turkic tribes against each other and against the Christian Eastern Roman Empire . The verse epic by Seyyid Battal Ghazi from the 13th century contains Turkish as well as Arabic and Persian influences and reproduces epics from early history in a fairytale-like manner . Parallel to the emerging Turkish literature, folk literature , often presented by narrators ( Meddah ), survived throughout the period.

Ottoman time

Creation of a literary tradition: 1450–1600

Manuscript page from an edition of Dede Korkut , 15th century.

An independent literary tradition can be traced in Anatolia since around the 12th century. The earliest evidence is found in the mystical literature (" tasavvuf edebiyatları ") of the dervish- tekke and the folk literature of the cities (" halk edebiyatları ") and the rural population (" aşık edebiyatları "). At the end of the 15th century, the great epics such as the story of Dede Korkut , the story of the Saltukids (" Saltukname ") and the heroic epic about Battal Gazi (" Battalname ") were recorded in writing. Since the 16th century, mystical chants were known as İlahi in the tradition of Sufism .

Since the middle of the 16th century, the struggle of Ottoman authors with the new role of their country has also been documented in relation to literature: In his book about the "eight heavens" (" heşt bihişt ") Sehi Bey (1470–1549) leads the Creation of a special Anatolian poetry based on the natural features of western Anatolia . In 1566 Aşık Çelebi wrote that the climate of Anatolia led to poetry. Distinguished by their contemporaries as "şu'arâ-yi Rum" ("Poet of Rum") from poets from other cultures, the authors are known today as " Osmanlı " or " Dīwān " poets . This designation assumes that Anatolia or rum (the western part of Anatolia with the capital Istanbul) was perceived as something special and that the Anatolian poetry was created by its authors with this awareness. In the course of time, a separate language of high literature developed, which became increasingly professional and ultimately resulted in the creation of a canon of scripts .

With the political and economic stabilization of the Ottoman Empire, new political and social elites emerged within the urban culture, for whom knowledge of Arabic and Persian as well as the growing Turkish literature became an indispensable part of their education and self-image. Biographical poetic encyclopedias succeeding Sehi Beys or Aşık Çelebi appeared in large numbers in the 16th century and were not only significant as literary evidence, but also served their readers as models for their own poetry. The ability to write verse and prose (" şi'r ü inşa ") and the promotion of poetry were among the hallmarks of the educated Islamic elite .

The newly emerging court in Istanbul, the economic prosperity and, above all, the newly developing educational system attracted numerous scholars from the western Persian Khorasan and, even before the conquest of the Mamluk Sultanate in 1517, from Damascus and Cairo to the large cities of western Anatolia. The sultans from Mehmed II to Suleyman I awarded prizes to individual poets and paid them a regular income. During this period, the Ottoman rulers were the main promoters of the literature of their country, if not the Islamic world. Further centers of Ottoman literature emerged in the former capitals of Bursa and Edirne and at the courts of the Beyliks of Konya, Amasya and Manisa.

Under the centralizing influence of the Sultan's court, but in an intensive simultaneous exchange with written Persian and Arabic literature as well as the orally transmitted narrative tradition, a common literary identity emerged. The authors did not identify themselves on the basis of their ethnic origin or their occupation, but instead took stage names ( Ottoman مخلص, mahlas ), by which they were known to their readers, and saw themselves as part of a “community of lovers” (“ ehl-i 'işk ”).

poetry
Page from a Dīwān by Mahmud Abdülbâkî , 1595

A central theme of Ottoman poetry was love for God, the prophet, the poet's patron or a beloved woman. Love found literary expression of world literary importance in the poem form of Ghazel .

The lyrical form of the Qasīda (Kaside) originally had predominantly religious content and served as a witness to the unity of God ( tevhid ), the request for forgiveness ( münacaat ) or the praise of the prophet ( naat ) or the four rightly guided caliphs . Collections of poetry, Dīwāne , are often introduced with religious casids, followed by praise poems for patrons, friends and loved ones, religious festivals, an accession to the throne or other occasions. Political messages can also be an issue.

Versromances ( Masnawī ) are the most widespread lyric form in early Turkish literature and became part of high literature in the course of the 15th and 16th centuries. At the end of the 16th century, numerous versions of the stories of " Leyla and Mecnun " or "Yusuf and Züleyha" were created. The Masnawī of this epoch differ from earlier stories set in and in distant or imaginary times and places such as “Varka and Gülşah” or “Hüsref and Şirin” in the innovative portrayal of actively acting female characters. Also popular were verses of the heroic deeds of sultans, princes or princes ( gazavatnameler ), in which the poets sometimes also appear as the main characters.

One of the great writers of the 16th century is Bâkî , also known by his honorary title “ Sultan of the Poets” (sulṭānü ş-şuʿarāʾ) . His most famous work, and one of the most famous elegies in Ottoman literature, is a funeral ode ( mers̠īye ) for the death of Suleyman I.

Classical Islamic stories based on the model of Nezāmis or Camis became popular, at the same time autobiographical poems appeared, which also mostly have love for the topic. In 1493 Cafer Çelebi wrote his "Book of Desire" ( hevesname ), in which he tells of his love affair with a woman. In the 16th century Taşlıcalı Yahya (d. 1575/6) wrote “King and Beggar” ( Şah u Geda ), in which he gave himself the figure of the beggar, a boy from Istanbul that of the king. The Şehrengiz genre , named after Mesihi's classic work "Şehrengiz-i Edirne" from the first half of the 16th century , also found great popularity . The theme of the Şehrengiz is the comparison between the metaphorical love ( aşk-i mecazi ) for the boys of a city as a symbol for pure religious love, and the desiring love ( aşk-i hakiki ) for a woman. The appearance of the author as an acting person in autobiographical verse narratives ( sergüzeștnameler ) was the most important literary innovation of this time and was perceived as such by contemporaries: Cafer Çelebi himself described his work as an innovation (" ihtira "). It led on to the numerous prose stories about himself and others that appeared from the late 16th century onwards.

Prose, historical and geographical works
Nasreddin Hodscha, miniature, 17th century, Topkapı Palace
Port of Marseille, in Kitab-ı Bahriye by Piri Reis , 1526

Collections of witty, often autobiographical stories in embellished prose ( inşa ) became popular in the 16th century. The first known collections of stories such as the “Book of the Spiritual” ( “Letaifname” ) by the author Lamii Çelebi (d. 1531) contained translations from Arabic and Persian. Its contents were stories about poets of earlier times, historical figures, the whims of women and civil servants. Çelebi's collection of the sometimes crude stories about Nasreddin Hodscha is also known in Western Europe. Words, images and themes from the classical Persian works of Saadi , Hafis and Jalāl ad-Dīn ar-Rūmī repeatedly served the poets of this time as a source of ideas.

Many books and articles about the early days of the empire are in the destruction of Bursa by Timur lost 1,402th One of the oldest surviving Turkish chronicles , the Düstür-nāme of Ahwad al-Dīn Enveri (d. 1189/90), deals with the history of the Western and Central Anatolian Beyliks, but focuses on the Beylik of Aydın. The Karaman-nāme des Şikārî (d. 1512) deals with the story of the Karamanoğulları, the Beys of Karaman. Ottoman chronicles such as the menāḳib or tevārīḫ-i Āl-i ʿOsmān of the Aschikpaschazade are only passed down from the 15th century.

Manuscripts dealing with the history of the immediate past have appeared since the first half of the 15th century. The story of Selim I , the " Selimname " of Şükri-i Bidlisi, the first of a series of historical works that dealt with this period, was particularly influential . On behalf of the court, the sultan's forcible accession to the throne and his role in history were to be embellished with propaganda. Stylistically based on the warrior pen in verse form ( gazavat-nāme ), Bidlisi's work became the model for later Ottoman historiography. Around 1550 the office of the official court historian (" şehnameci ") was created. A group of scribes and illustrators were to write the official history of the empire from a scriptorium in the courtyard area. The Persian poet Arifi was the first court historian to write the history of Suleyman I's reign . His "Book of Suleyman" ( Suleyman-nāme ) was created in Persian based on the model of Firdausi's Shāhnāme . The şehnameci's office and workshop provided the official historiography of the subsequent rulers of the Ottoman dynasty. The Ottoman sources deliver a smooth, sometimes legendary narrative of his own ascent, which is inconsistent with the Byzantine chronicles that were created at the same time. They are therefore only suitable for research into the early history of the empire to a limited extent.

The view of the Ottoman elites was also directed outwards: At the same time as the Selim name , the “Book of Seafarers” ( Kitab-ı Bahriye ) by the Ottoman admiral Piri Reis was created . He used contemporary Italian, Spanish and Portuguese isolariums and portolans as a model for his work, which is considered the earliest known topographical work of the Ottoman Empire, which was followed by a large number of geographical books documenting the worldview of the Ottoman elite. Later editions of the Kitab-ı Bahriye contained cityscapes from the bird's perspective .

Around 1540 the multi-volume “History of the Ottoman House” by Matrakçı Nasuh was completed. The work combines historiography, the description of conquests, geographical and route descriptions. The book illuminations consist without exception of topographical images of cities and milestones of the campaigns as well as the path that the armies had covered. The most famous manuscript of this type, the " Beyan-ı Menazil-i Sefer-i Irakeyn " or " Mecmua-i Menazil ", which reports on Suleyman I's campaign in Iraq , establishes a specifically Ottoman form of topographical representation, the Italian cityscapes and Persian forms of representation combined. Individual monuments and smaller structures appear in a bird's eye view within a map of the city limits. The topographical illustrations in these works influenced the later Ottoman history painting.

Encyclopedias and biographies of the ulemâ

The literary genre of "Scholar Ranking" ( Turkish Tabakat from Arabic Tabaqat ) mediated by the compilation of selected scholarly biographies create coherence in tradition of teaching and structure of the Ottoman Empire scholars shaft ( ulema ) . The work of Şeyhülislam Kemālpaşazade (d. 1534) "Treatise on the hierarchy of the Mujtahid " (Risala fi ṭabaqāt al-mujtahidiīn) , written in Arabic, was quoted again and again until the 18th century and occasionally also translated into other languages. Kınalızāde ʿAli Çelebi (d. 1572) created in his "Genealogy of the Hanafi School of Law" (Ṭabaqāt al-Ḥanafiyya) a complete chain of transmission from Abū Hanīfa to Kemālpaşazade. In this way the Hanafi legal understanding was canonized in the sense of the Ottoman imperial ideology. Maḥmud b. Süleyman Kefevi (d. 1582) excluded from his compilation scholars whose teaching did not correspond to the Ottoman-Hanafi understanding of law, and thus also emphasized the teaching monopoly of the imperial Ottoman school of law, which is called " Ottoman Islam " in modern Ottoman studies .

The first and most significant biographical lexicon ( Turkish eş-şakaiku'n , from Arabic al-Shaqa'iq ) of the Ottoman ulemâ was the "Anemone Garden of the [religious] scholars of Ottoman rule" (Al-shaqa'iq al-nuʿmāniyya fi ʿulamā ' al-dawla al-ʿUthmaniyyā) from Aḥmād b. Muṣṭafā Taşköprüzāde (died 1561). The term “al-nuʿmāniyya” (literally: anemone garden) is to be understood as an allusion to the Nu'mani brotherhood, the proper name of the Hanafi madhhab in the Ottoman learned elite. In Taşköprüzāde's work, the biographies are based on the reigns of the Ottoman sultans. He thus connects Islamic scholarship with the history of the Ottoman ruling dynasty, “because this work was compiled under the shadow of their rule (“ dawla ”) ”. To emphasize this even more, he wrote in classical Arabic. Turkish translations were written during Taşköprüzāde's lifetime: in 1560 that of Belgradlı Muhtesibzade Muhammed Haki under the title Hada'iq al-Rayhan ; at the same time a translation by Aşık Çelebi was created . Further adaptations followed in the 16th century, for example by Muḥammad al-Madschdî in 1586.

Other scholars wrote sequels to Taşköprüzāde's work. Aşık Çelebi dedicated his "continuation" (Dhayl al-Shaqa'iq) to the Grand Vizier Sokollu Mehmed Pasha . Ali ben Bali Cevheri (1527–1584) called his work Al-ʻIqd al-Manzum fi Dhikr Afazil al-Rum ("The row of pearls of the dignitaries of Rumelia") as a continuation of Taşköprüzāde, for which he prominently featured as the "showpiece of the chain" in the series of the Ottoman ʿUlamā 'assigned. Ali ben Bali followed the order of biographies given by Taşköprüzāde according to the reigns of the sultans. He, too, wrote in elegant Arabic and quoted the poems and texts of the featured scholars to emphasize their position in Arabic-Islamic literature.

Expansion and change: 1600–1839

Page from Evliya Çelebi's “ Seyahatnâme ” Volume VII, Library of the Topkapı Palace

By the beginning of the 17th century, the forms of literary production were largely determined. The further development of Ottoman literature up to the middle of the 19th century is still poorly researched. Nâbi and Nedîm , as well as the travel writer Evliya Çelebi, are considered outstanding authors of the 17th and 18th centuries .

Development of literary language from the 17th century

By the end of the 16th century, the Turkish language had absorbed a large number of Arabic and Persian words. This was mostly perceived with admiration, older works even rewritten in Turkish because the older literature was felt to be too little elegant. The writer Cevrî († 1654/5) was known for rewriting older works, such as Şemsiye by Yazıcı Selâhaddîn (1408, republished under the title " Melhame ") or " Selîmname " by Bitlisi Şükrî (1521, republished in 1627 under the same) Title). He replaced what he called old-fashioned Turkish words with Persian or Arabic.

In the later so-called " Tulip Time " was under the influence of Nâbis and with the support of Sultan Ahmed III. the principle of linguistic "simplicity and local ties" became popular. It could therefore happen that earlier works that were considered overloaded were revised and Persian and Arabic words were replaced by Turkish. For example, 'Osmânzâde Tâ'ib († 1724) edited the " Mahâsinü'l-âdâb " (1596) by Gelibolulu Mustafâ' Âlî on behalf of the Sultan and created a version in contemporary Turkish. During this time, Persian and Arabic literature was translated into Turkish, although readers are sure to have mastered all three languages. Nâbi himself declared that a "collection of ghazeles is not an Arabic dictionary". Turkish spoken and written in Istanbul took on the character of a standard of language.

Genera

The predominant literary form was poetry. Even prose texts like Evliya Çelebi's “Travel Book ( Seyahatnâme )”, written in Turkish vernacular, are embellished with verses and proverbs.

From the 17th century, poetry was further differentiated into different genres:

  • şarkı - songs with a melody, known in various forms as murabba , muhammes or musseddes , often about love and written in simple language.
  • hiciv and hezel - satirical, often crude or mocking texts, sometimes in the form of duels between two poets. The most famous poet is Nef'i , who grossly insulted his opponents in his "arrows of perdition" ( Sihâm-ı kazâ ). When he did not comply with Murad IV's request to stop this, he was sentenced to death by kaymakam Bayram Pasha.
  • vefeyât (derived from Turkish vefât 'death' ) contain short biographies of writers with their dates of death. The most famous author was Hâfiz Hüseyin Ayvansarâyî († 1787), in whose Vefeyât-ı selâtîn ve meşahir-i ricâl the dates of death of the persons are encoded in the final line of the text.
  • bilâdiye (derived from the Turkish bilâd 'cities' ) is a further development of the Şehrengiz genus of the 15th century. Bilâdiye describe the author's relationship to his city. Authors of well-known bilâdiye were Fasîhî, Ferdî († 1708-10), and Derviş 'Ömer.
  • sūr-nāme , a genre of prize songs founded by Mehmed I on the occasion of official celebrations, were written well into the 19th century. Known sur-names are the Surname-i Hümayun of Nakkaş Osman , the Surname-i Vehbi of Seyyid Vehbi and Nabis Veḳā'i'-i hitan-ı visual Zadegan-ı Hazret-i Sultan Mehemmed Gazi , an occasion of the circumcision of Prince Mustafa and Ahmed wrote sūr-nāme . Other important authors were 'Abdî, Hazîn and Haşmet.
  • menākib-nāme , descriptions of the life and miracles of well-known dervish sheiks, were published from 15th to 18th They became popular in the 17th century, and from the 17th century - contrary to the widespread custom in the Islamic world - increasingly concerned themselves with only locally known personalities. Such "vitae" were collected in the 18th century. The most famous collection is the Menākıb-ı Melāmiye-î Bayrāmiye by La'lîzade 'Abdülbakî Efendi († 1746).
Styles

During the 18th and 19th centuries there were three major literary styles: the "Indian" style ( sehk-î hindî ) of Fehîm-i Kadîm (1627–1641) or of Neşatî, the "simple" style of Nâbis , and one strong Spelling based on the contemporary language, the most prominent representative of which is Nef'i .

Modern

With the Tanzimat period in the middle of the 19th century, Western influences became stronger in literature, as in politics. After Western literature was increasingly translated into Turkish, the first Turkish novels appear in the 1870s . Sami Frashëri's book Ta'aşşuk-ı Tal'at ve Fitnat (“The love of Tal'at and Fitnat”) from 1872 is considered the first Turkish work of this literary genre. The newspaper Servet-i Fünûn (“ Treasure of Knowledge ”) with the poet Tevfik Fikret and the novelist Halid Ziya Uşaklıgil . At the same time a nationalist and patriotist poetry emerged.

The first translations of modern Turkish literature into German were made towards the end of the 19th century and the beginning of the 20th century. The pioneers in this were the orientalist Georg Jacob , quasi the founder of modern Turkology in Germany, and the Istanbul-based journalist and philologist Friedrich Schrader , who also wrote numerous reviews of modern Turkish literature in German newspapers and magazines.

Orally transmitted literature

In addition, a folk literature developed, which consists especially of folk songs and stories of popular heroes such as Keloğlan and Nasreddin Hoca (remotely comparable to Till Eulenspiegel ).

In Germany, Elsa Sophia von Kamphoeven published Turkish folk tales that she had told in German radio stations since 1951.

Turkish Republic

With the proclamation of the republic by Mustafa Kemal Ataturk and the subsequent reforms , especially the introduction of the Latin script in 1928 and the great language reform from 1932, there were revolutionary changes in Turkish literature. The new writers turned away from the traditional, fixed style and language. This was particularly propagated by the poets of the Garip movement around Orhan Veli . Fazıl Hüsnü Dağlarca is considered one of the most important Turkish poets of the 20th century , of whom several volumes of poetry have been published in German translation.

The writing and language reform meant that the subsequent generations no longer had access to the literature written before. The original writing of the literature before 1928 is no longer legible for most Turks of the present day, the language, especially the sophisticated language, is difficult or even impossible to understand. It is symptomatic that works by Ataturk, the founder of the republic, have appeared repeatedly and continuously updated "in contemporary Turkish" ( bugünkü Türkçesiyle ). For example, the novel Mai ve Siyah by the novelist Halid Ziya Uşaklıgil was published in 2016 in both the original version and “in contemporary Turkish”, although the original version was not based on the first printed edition from 1889, but a modernized and simplified version of by the author himself 1938.

With the form, the content of Turkish literature increasingly changed. For example, Fakir Baykurt , Sabahattin Ali and Yaşar Kemal focused on the villagers, Sait Faik and Hasan Ali Toptaş on the townspeople. With the turn to the description of the living conditions, social and political criticism of the state was inevitable. The state responded with censorship and political violence. Authors such as Nâzım Hikmet , Yaşar Kemal and Aziz Nesin spent many years in Turkish prisons because of the persecution of their publications; Hikmet lived temporarily in exile in Moscow. Kemal therefore called the prison a "school of Turkish literature".

As a counter-movement against Garip (the “First New”) and Socialist Realism , the apolitical Second New developed in the 1950s, once again using a more artificial language.

As early as the beginning of the 20th century, a sentimentalistic popular commercial literature with idealized main characters had developed. Güzide Sabri Aygün published the first popular romance novels (e.g. منوّر Münevver from 1901). This tradition was continued in the republican period by Kerime Nadir , Muazzez Tahsin Berkand , Mükerrem Kamil Su , Cahit Uçuk , Mebrure Sami Koray , Nezihe Muhittin , Peride Celal .

Although censorship , three military coups (1960, 1971 and 1980 ) and the consequences of the attempted coup in 2016 repeatedly stunted the development of Turkish literature, it has developed in a diverse and independent manner. A well-known representative of current Turkish literature is Nobel laureate Orhan Pamuk ( The Black Book 1991, Snow 2005), who has often been the focus of ultra-nationalist criticism. The psychiatrist Kaan Arslanoğlu describes the diverse and torn Turkish society of the 1980s and 1990s. Aslı Erdoğan ( The Miraculous Mandarin , 2000, German 2008) received the Sait Faik Literature Prize in 2010, one of the most important Turkish literary prizes.

Turkish literature in German-speaking countries

With the migrant workers, Turkish literature and writers of Turkish origin also came to Western Europe in the 1960s. Books were increasingly translated. Aras Ören , Yüksel Pazarkaya or Emine Sevgi Özdamar dealt with life in Germany in different ways. Some of this literature , which is now also known as German-Turkish literature, is also carried back to Turkey.

A broader audience in Germany is familiar with modern Turkish writers, alongside Nâzım Hikmet and Yaşar Kemal , above all the Nobel Prize for Literature Orhan Pamuk , who received the 1997 Peace Prize of the German Book Trade . Esmahan Aykol lived temporarily in Berlin and went back to Istanbul; their crime novels are also translated into German. The prominent German-Turkish writers Feridun Zaimoglu , Emine Sevgi Özdamar , Zafer Şenocak and Yadé Kara are part of German-language literature because they originally write and publish in German.

The publishers in German-speaking countries that have specialized in Turkish literature in German translation include Literaturca (Frankfurt am Main), Manzara (Pfungstadt), the Berlin publishers Dağyeli and binooki (the latter brought the first published in 1972, long as The untranslatable novel Die Haltlosen by Oğuz Atay ) as well as the publishing house auf dem Ruffel, based in Engelschoff in Northern Germany, and the Zurich Union publishing house with its series The Turkish Library . Since 2005, the Literaturk literature festival has been held every year in October at various locations and in cities in the Ruhr area and other German cities.

Since 2011, the Turkish literature festival “Dil Dile” has been taking place at the Volksbühne in Berlin at the end of March .

See also

literature

  • Beatrix Caner: Turkish Literature - Modern Classics . Olms, Hildesheim 1998, ISBN 3-487-10711-2 .
  • Priska Furrer: Longing for meaning. Literary Semantization of History in Contemporary Turkish Novel . Reichert, Wiesbaden 2005, ISBN 3-89500-370-0 .
  • Wolfgang Günter Lerch : Between steppe and garden. Turkish literature from a thousand years . Allitera, Munich 2008, ISBN 978-3-86520-324-3 .
  • Mark Kirchner (ed.): History of Turkish literature in documents. Background and materials on the Turkish library . Harrassowitz, Wiesbaden 2008, ISBN 978-3-447-05790-5 .
  • Berna Moran : The Turkish Novel. A literary history in essays. Volume 1: From Ahmet Mithat to AH Tanpınar. Translated from Turkish by Béatrice Hendrich. Harrassowitz, Wiesbaden 2012, ISBN 978-3-447-06658-7 .
  • Brigitte Moser , Michael Weithmann: Country Studies Turkey. History, society, culture. Hamburg 2008. ISBN 978-3-87548-491-5 , Chapter 6: History of Literature, pp. 206-268.
  • ACS Peacock / Sara Nur Yıldız (eds.): Islamic Literature and Intellectual Life in Fourteenth- and Fifteenth-Century Anatolia . Ergon Verlag, Würzburg 2016, ISBN 978-3-95650-157-9 .
  • Wolfgang Scharlipp: Origin and Development of Turkish Crime Fiction. In: Readings in Eastern Mediterranean Literatures . Ergon Verlag, Würzburg 2006, pp. 189-220. ISBN 3-89913-507-5 .
  • Michaila Stajnova: New directions in artistic-literary work in Ottoman Turkey at the beginning of the 18th century. In: Gernot Heiss, Grete Klingenstein (ed.): The Ottoman Empire and Europe 1683 to 1789: Conflict, relaxation and exchange. Oldenbourg, Munich 1983, ISBN 3-486-51911-5 , pp. 179-193.
  • Jens Peter Laut (Hrsg.): Literature and Society: Small writings by Erika Glassen on Turkish literary history and on cultural change in modern Turkey . Ergon-Verlag, Würzburg 2014. (Istanbul Texts and Studies, Volume 31).

Web links

Portal: Turkey  - Overview of Wikipedia content on Turkey

Library resources

Research and debates

Individual references, comments

  1. ↑ Ancient writings and cultures: Orchon script. In: online library. Retrieved January 17, 2008 .
  2. ↑ Talat Tekin: Irk Bitig. The Book of Omens . Harrassowitz, Wiesbaden 1993, ISBN 978-3-447-03426-5 , pp. 1 .
  3. ^ Annemarie von Gabain : The old Turkish literature . In: Louis Bazin et al. (Ed.): Philologiae turcicae fundamenta . tape 2 . Steiner, Wiesbaden 1964, p. 225 .
  4. ↑ Otto Alberts: The poet of the Kudatku-Bilik (1069-1070 AD) written in Uighur-Turkish dialect, a pupil of Avicenna. In: Archives for the history of philology. New series 7 (Berlin), pp. 319–336.
  5. ↑ Arslan Terzioğlu: İbn Sina (Avicenna) in the light of recent research. (Translation: Ali Vicdan Doyum) In: Würzburg medical history reports. Volume 18, 1999, pp. 111-131; here: p. 116 f.
  6. ^ Franz Taeschner : The Ottoman literature. In: Bertold Spuler (Hrsg.): Handbuch der Orientalistik . First department. Fifth volume. First section. Turkology. Brill, Leiden 1982, pp. 271f
  7. ↑ Gönül A. Tekin: Othmanli Literature. In: The Encyclopaedia of Islam. New Edition , Volume 8 . Brill, Leiden et al. 1997, ISBN 90-04-08118-6 , pp. 209-213 .
  8. ↑ Sehi Beg, Günay Kut (ed.): Heşt Bihişt: the tezkire by Sehī Beg: an analysis of the first biographical work on Ottoman poets: with a critical edition based on Ms. Süleymaniye Library, Ayasofya, O. 3544 . Harvard University Printing Office, Cambridge, Mass. 1978, p. 314 .
  9. ↑ aşık Celebi, Filiz Kılıç (ed.): Meşd'irü'ş-Şu'arâ: İnceleme, Metin Volume I . Istanbul 2010, p. 277-279 .
  10. ↑ a b c d e Selim S. Kuru: The literature of Rum: The making of a literary tradition. In: Suraiya N. Faroqhi, Kate Fleet: The Cambridge History of Turkey, Vol. 2 . Cambridge University Press, Cambridge, UK 2013, ISBN 978-0-521-62094-9 , pp. 548-592 .
  11. ^ Walter G. Andrews, Mehmet Kalpaklı: The age of beloveds: Love and the beloved in early-modern Ottoman and European culture and society . Durham, NC 2005, ISBN 0-8223-3424-0 .
  12. ↑ Selim S. Kuru: The literature of Rum: The making of a literary tradition. In: Suraiya N. Faroqhi, Kate Fleet: The Cambridge History of Turkey, Vol. 2 . Cambridge University Press, Cambridge, UK 2013, ISBN 978-0-521-62094-9 , pp. 574-576 .
  13. ↑ Selim S. Kuru: The literature of Rum: The making of a literary tradition. In: Suraiya N. Faroqhi, Kate Fleet: The Cambridge History of Turkey, Vol. 2 . Cambridge University Press, Cambridge, UK 2013, ISBN 978-0-521-62094-9 , pp. 573 .
  14. ↑ Ulrich Marzolph (Ed.): Nasreddin Hodscha: 666 true stories . 4th edition. CH Beck, Munich 2015, ISBN 978-3-406-68226-1 .
  15. ↑ Ahwad al-Dīn Enveri, Irène Mélikoff (trans.): Le destan d'Umur Pacha (Düsturname-I Enveri) . Presses universitaires de France, Paris 1954.
  16. ↑ Şikârî, Metin Sögen, Necdet Sakaoğlu (eds.): Karamannâme . İstanbul 2005, ISBN 978-975-585-483-0 .
  17. ↑ Çiğdem Kafescioğlu: The visual arts, in: Suraiya N. Faroqhi, Kate Fleet: The Cambridge History of Turkey, Vol. 2 . Cambridge University Press, Cambridge, UK 2013, ISBN 978-0-521-62094-9 , pp. 457-547 .
  18. ↑ Çiğdem Kafescioğlu: The visual arts, in: Suraiya N. Faroqhi, Kate Fleet: The Cambridge History of Turkey, Vol. 2 . Cambridge University Press, Cambridge, UK 2013, ISBN 978-0-521-62094-9 , pp. 504-508 .
  19. ^ A b Guy Burak: The second formation of Islamic Law. The Hanafi School in the Early Modern Ottoman Empire . Cambridge University Press, Cambridge, UK 2015, ISBN 978-1-107-09027-9 , pp. 65-100 .
  20. ^ Tijana Krstić: Contested Conversions to Islam: Narratives of Religious Change in the Early Modern Ottoman Empire . Stanford University Press, Stanford, CA 2011, ISBN 978-0-8047-7785-8 ( limited preview in Google Book Search).
  21. ↑ Gürzat Kami: Understanding a sixteenth-century ottoman scholar-bureaucrat: Ali b. Bali (1527–1584) and his biographical dictionary Al- ' Iqd al-Manzum fi Dhikr Afazil al-Rum. MA thesis . Graduate school of social sciences, İstanbul Şehir University, Istanbul 2015, p. 54–55 ( [1] [accessed September 11, 2016]).
  22. ↑ Gustav Flügel : The Arabic, Persian and Turkish manuscripts of the Imperial-Royal Court Library in Vienna. On behalf of the superior kk authority, ordered and described by Gustav Flügel: Vol. 2 . Printing and publishing house of the KK Hof- und Staatsdruckerei, Vienna 1865, p. 384 ( [2] [accessed September 11, 2016]). The Arabic, Persian and Turkish manuscripts of the Imperial and Royal Court Library in Vienna. On behalf of the superior kk authority, ordered and described by Gustav Flügel: Vol. 2 ( Memento of the original from September 15, 2016 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / bilder.manuscripta-mediaevalia.de
  23. ↑ Aşık Çelebi, Abdurrezzak Beretta (ed.): Dhayl al-Shaqa'iq al-Nu ' maniyya fi ' Ulama al-Dawla al- ' Uthmaniyya . Dar al-Hidaya, Kuwait 2007.
  24. ↑ Gürzat Kami: Understanding a sixteenth-century ottoman scholar-bureaucrat: Ali b. Bali (1527–1584) and his biographical dictionary Al- ' Iqd al-Manzum fi Dhikr Afazil al-Rum. MA thesis . Graduate school of social sciences, İstanbul Şehir University, Istanbul 2015, p. 62 .
  25. ↑ a b c Hatice Aynur: Ottoman literature . In: Suraiya N. Faroqhi (Ed.): The Cambridge History of Turkey . tape 3 . Cambridge University Press, Cambridge et al. 2006, ISBN 978-0-521-62095-6 , pp. 481-520 .
  26. ↑ a b Hatice Aynur: Ottoman literature . In: Suraiya N. Faroqhi (Ed.): The Cambridge History of Turkey . tape 3 . Cambridge University Press, Cambridge et al. 2006, ISBN 978-0-521-62095-6 , pp. 481-486 .
  27. ↑ Nâbi: Nâbi Dīvānı . Ed .: Ali Fuad Bilkan. Millı̂ Eğitim Bakanlığı, Istanbul 1997, ISBN 978-975-11-1030-5 .
  28. ↑ quoted from Aynur, 2006
  29. ↑ However, other works were also given this title. Compare with this z. B. Wolfgang Scharlipp: “The problem of who wrote the first Turkish novel”, in: Materialia Turcica , Vol. 25 (2005).
  30. ^ Geoffrey L. Lewis: The Turkish Language Reform. A Catastrophic Success. Oxford University Press, Oxford [et al.] 1999, ISBN 978-0-19-925669-3 , pp. 2-4
  31. ↑ Mediha Göbenli Contemporary Turkish Women's Literature - p. 48
  32. ↑ Oğuz Cebeci in Journal of Modern Turkish Studies - the literature of the sentimentalist women writers of the early to mid-Republican period, such as Muazzez Tahsin Berkand and Kerime Nadir
  33. ↑ - ( Memento of the original from December 10, 2015 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.dildile-literaturfestival.com
  34. ↑ So let's do it ourselves , Der Tagesspiegel from March 16, 2012